r/fanedits

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Hi all!

For the last year, I’ve been working to complete a reconstructed cut of the original Star Wars with all the deleted scenes cleaned up, sweetened, and re-inserted.

I’m about 80% of the way through, but it’s in a watchable format at this time.  The original cut ran 2:01, the SE was 2:04, and the Chanbara Cut currently comes in at 2:11 (so ten minutes more than the original).

DM me for a link to DL the file, presuming you already own the DVD.

Here’s a list of the changes that have been made so far.  Again, this is a work in progress so not all effects and transitions have been completed.

(Time-code: Scene - Summary & Status)

0:02:48-2:06:38: Subtitles  - Since Greedo and Jabba got subtitles, I added them for everyone.  R2's lines are according to Script v1 & v2.

0:04:52-0:05:45: Luke @ Moisture Vaporators - Added Mark Hamill's VO from the radio version & other AFX.

0:05:45-0:05:53: SandPeople chase - Added this to heighten constant danger to Luke, foreshadowing the later attack.

0:08:28-0:09:45: Tosche Station Inside - Layered about 15 sound effects and backing "radio music."

0:13:35-0:16:38: Luke and Biggs - This adds a lot of insight into why Luke wants to leave the planet soon.

0:24:11-0:24:13: R5-D4 Cover shot - Covering R5-D4 with a jawa for continuity.

0:28:30-0:24:47: Beru pours milk - Now we know where they get it.

0:32:40-0:32:42: Owen: "Where's he loafing" - Per script.  Adds tension.

0:41:19-0:42:07: Moved track 8 "Tales of a Jedi" - Nightmare changes.  Had to remove Williams' music, clean up vocals, re-add music at a later point to line up with Luke's dialog and Tagge's intro.

0:42:07-0:42:17: Luke Doesn't feel so good - This shows Luke's Hamlet-esque indecision.

0:42:18-0:42:25: Tagge's Sith line - See?!?  There were lots of Sith lords!

0:42:38-0:42:51: Tagge's Tarkin line - Great for tension, but needs complete redo.

0:48:12-0:48:14: Ben: "Well there we are" - I like how nonplussed Ben is.

0:50:26-0:50:28: Mantis-man - He's actually always there.  You can see him behind Chewie in the cantina corner.  I just put his close-up back in.

0:51:29-0:51:32: Jenny & Han 1 - Han's a scoundrel and ladies' man.

0:52:21-0:52:25: Jenny & Han kiss - Ben can kill two patrons but not the mood...

0:52:44-0:52:58: Narc scene - Snitches get stitches.

0:53:14-0:52:24: Han shoos away Jenny - I mean, really, he has important business to talk about.

0:55:30-0:56:28: Han shoots first - Do I even need to comment?

0:58:11-0:59:31: Original Jabba Scene - I love this scene, but all the Declan bits need to be upscaled to match.

0:59:31-0:59:52: Vader expands search - Adds tension to the search, and shows not all Imperials are buddy-buddy.

1:04:48-1:05:01: Tarkin-Leia: "You're too trusting" - Further shows Tarkin's evil and Leia's resistance.

1:08:54-1:09:10: Extended Vader-Tarkin dialog - This shows that Vader is more cunning than you'd think.

1:15:29-1:15:40: Re-inserted 3PO dialog - It's in some cuts and not others.  It's now in this one.

1:33:00-1:33:12: Extended Walkthrough - I think it's funny.

1:35:18-1:35:20: Leia: "We're gonna need it" - This adds a bit of humanity to Leia's hard shell.

1:35:52-1:35:54: "Close the blast doors!" - Everyone wanted this line back.  It bookends "Open the blast doors" so well.

1:37:01-1:37:06: Ben: "You shall cease to exit" - This shows that Light-side Jedi live on while Dark-sides do not.

1:45:21-1:46:25: Corrected Death Star Plans - WTF?  Why didn't they do this in the SE?  Took me two days.

1:48:52-1:50:03: Luke, Biggs, and Red Leader - This really ties all the Biggs stuff together and further shows that Anakin and Vader were intended to be two different characters.

2:03:24-2:03:32: Moved Han back and added Luke's "Supernova" - Han's "great shot" makes more sense here, especially with Luke's additional dialog.

2:03:51-2:03:55: Extended DS explosion, soloing Ben's line. - Ben's line has much more impact when it doesn't immediately follow Han's.  The "star dust" from the DS makes a good fade into Luke as he listens to "Stardust Ben."

2:06:05-2:06:37: Added Chewie's medals - This was a test.  Proper colored medals ordered.

It's a technical marvel! I'd almost recommend it over the original movie if I'm being honest. Very close, though.

Batman '89 looks GORGEOUS in black and white. The shot of Batman turning around and walking, his shadow following after him, is immediately striking, even more than in the theatrical version. Joker comes off more terrifying in this rendition, his creepy smile contrasted heavily with shadows and greys, seemingly damaged by time and wear. The art deco vibes of Tim Burton's Gotham City translate well to this style, to the point you'd swear he was going to make it this way but didn't for some reason. I recently saw the 1930s Dr. Jekyll and Mr. Hyde, so I can definitely say that the compressed audio is a solid match for that era. No alterations needed for Elfman's music, this score slots right in as a part of that era in this state. The new opening titles were fantastic as well, seamlessly transitioning from the old WB logo into the Batman theme. The illusion is great and wonderful.

The only reason I wouldn't qualify it as utterly perfect is because of one thing, probably not something that could be done about honestly. In the midst of this conversion to a 30s noir film, the Prince songs are so undeniably eighties/early nineties they hurt said illusion. They don't ruin the movie necessarily, but if there was a way to replace the songs with more era-appropriate tracks I'd recommend that. There also aren't any deviations from the original film. at least, none that I could see. If you had any mixed feelings about Batman '89, this edit won't address any criticisms. Then again, that wasn't the aim, of course. The goal was to make this fit snugly as a film noir. In that sense, MidnightGhostEdits mostly succeded at the task.

Highly recommend, it is an incredible work that transforms the original if not nearly surpasses it. It's at least better than the actual Batman serials made from that era...

Hi... I come as the madman I am to share with you the trailer for The First Avengers, a 6H edit of the events of the MCU in chronollogical order... You know, in case my 4h edit of SWIII wasn't enough for you. It Will be up before Friday (depends on how long it will take for it to be uploaded, if everything goes well it will be on the spredsheet of fanedit central even by this monday... I'll make another post whenever it gets uploaded) and again i made a quick trailer to hype you up for it, enjoy!

Hey everybody. Very recently I released a fanedit of Star Trek 2009 and the reaction to it overall was pretty strong. Tonight I ended up watching Star Trek Into Darkness and I've begun the early development process of an edit for this one that would very likely be a much more complex edit than that of the 2009 film. I haven't completely solidified the whole idea yet, but I'm kind of "finding it in the edit" right now.

As such I threw together this clip of some of the work I did tonight and I thought I'd share it. In hopes of maybe getting some thoughts and ideas for things that people may want to see in such an edit, and also getting some feedback on the general direction so far. Keep in mind this is all work in progress and not fully polished yet.

This clip is the meeting with the Klingons in attempt to apprehend "John Harrison." Some of the major things I've done here.

1.) I cut down Uhura giving a speech to Kirk about speaking Klingon in order to simplify the dialog a little and lessen the "soap opera" effect that some of the writing has in this movie.

2.) I wanted to have John Harrison's assault on the Klingon's interrupt Uhura's attempt to negotiate. In the movie as it exists the Klingon's essentially immediately reject Uhura's attempt, thus rendering her a total failure. I wanted to give the impression that she may well have succeeded in her negotiations had Harrison not interrupted the proceedings with violence. This required shifting the order of events a little to move Kirk and the Crew coming out shooting until a little later, and removing Uhura stabbing the Klingon leader.

3.) Significantly cut down the action. Watching this movie the "chaos" of it all really stands in stark contrast to the much more even handed and comparatively subtle 2009 film. I don't need to see Harrison jumping 30 feet in the air, doing twirls, and firing endlessly on an army of Klingons. A quick burst firefight feels much more effective to me.

Anyway, hope you enjoy! This one is a little ways away from being finished but getting a start on developing it has been fun so far.

I'm currently working of the Evil Dead trilogy, that's why it's been a while. I just want to discuss this idea for an edit that I thought of, The Curse (1987) at the time was a close adaptation of H. P. Lovecraft's The Colour Out of Space, Lovecraft scholar Charles P. Mitchell referred to the film as faithful to the author's original work, but Mitchell claimed that "The last twenty minutes of the film are so disjointed that they virtually ruin the entire film." And I don't need to mention Wil Wheaton's experience on the movie. It was the first adaptation of The Colour Out of Space, and I enjoyed it. Spoiler alert, at the end of the movie>!white slime oozes out of the ground,!< after seeing that it made me think of Larry Cohen's The Stuff (1985) about a killer white substance that's advertised as a tasty and addictive dessert. The only problem with this idea is The Curse took place in Tellico Plains, Tennessee, while the movie opens in Georgia, and if people have seen the Pre-Theatrical release of The Stuff,>!it says that The Stuff is only available in New York, New Jersey, and Connecticut.!< So I've got to ask if everybody is okay with a fan edit of The Curse and The Stuff edited together.

With the Boys season 5 coming out and being pretty good, I think I want to re-edit season 3, 4 and 5 into 2 seasons, so that the show would end on season 4.

The main reason I want to do this is the show lost all pacing in season 4. Season 3 felt like it was ramping up towards the end, just for the finale to put everything on ice and season 4 was almost entirely filler until we near the ending.

My main purpose is to give season 3 the season 4 ending and cut out Soldier boy ever being out of comission. This means the majority of season 4 would be cut, bar the last episode. There are a few things I need to move to season 3 like Fire cracker and Sister Sage.

The hardest part of the edit will be changung soldier boys ending. Basically we need to go from season 3 episode 7 to season 5 episode 3, and cutout any reference to him being put back on ice.

Do you guys have any ideas on how to do this? Or what scenes from season 4 to bring back into season 3?

Hey everyone! I’m new to posting here.

I recently tried editing the film by adding some of the film’s audio with tracks and sounds from the original games (like Akira Yamaoka’s OST) to better match the tone, feel what was missing from the film.

I worked on a few scenes where I felt the atmosphere could feel closer to the games, and honestly it made certain parts feel more “Silent Hill” to me.

I’m not sharing the full edit, but I’d love to hear your thoughts on the idea — or if there are specific scenes you think would benefit from this kind of change.

If there’s interest, I could also share short clips of some scenes I edited. (If it’s allowed, I’m getting warnings about postings like this, it’s my first time posting as well, and I kinda feel happy after making the edit)

And if it’s allowed as well, I need some help posting my fan-edit. Should I just upload it on Mediafire and share it with anyone that asks? or I should make a post on fanedit.org? or is it better to give the link to someone here and ask for some feedback after in the comments/DMs?

Based on the Iconic Graphic Novel and Inspired by 'The Housemaid','Daredevil:Born Again', and 'The Batman', Matt Murdock must fight horrific evils and the wrath of mother nature to deliver a heart to a dying child, and free an innocent man.

This is my own idea for how the telephone segment in the Black Sabbath movie should play out. My interest was piqued after learning it was the inspiration for the heavy metal band's name. This is largely the original Italian version of the telephone segment, with a few parts from the AIP version thrown in, not necessarily in the same place they were in the movie. No copyright infringement is intended.

Rosey enters her apartment after an apparently frustrating night.   The phone rings, she answers, but gets no response.  She goes to her bed, removes her stockings, and hears the phone ring again, but again there’s no answer from the other party when she picks up the receiver.  After she puts on a bathrobe the phone rings again.  She picks up the receiver and says “Hello?” and this is when the other party speaks.

Voice:  “You’re so beautiful.  Too beautiful, Rosy.”

Rosy: “Who IS this?!?”

Voice:  “You’ll know right before you die.  I can see your heavenly body.  Your silky arms, your perfect legs.<Rosy tries to cover her legs with her robe.> No, don’t cover them!  A body like yours can drive a man to madness.  And I will kill you!”

Rosy: “WHO IS THIS??? Who are you?? Hello!?  HELLO?!?”< other party hangs up >

Rosy has changed into a nightgown and robe and is sitting on her bed after pacing a bit.  She gets up to make her bed and the phone rings again.  Rosy answers.

“Hello.”

Voice:  “Why did you put your robe on?  You should have stayed as you were.  I like you better with nothing on. That’s how I want to find you.  I’ll get in, even if you lock the door.”  

Rosy:  “Who are you? What do you want from me?”

Voice:  “I told you.  I want to kill you.   I want revenge.  You did well to turn on all the lights.  I want to see you die.  Do you understand, Rosy?”

Rosy hangs up, feels a chill, paces some and pours herself a drink.  Hearing running footsteps, she rushes to the door to put a piece of cloth over the keyhole.  She begins turning off some lights in her apartment and hides some jewelry underneath the sofa.  She picks up the phone and puts it down next to her, hears something fall outside, and tries to put back the phone--only to hear it ring and drops the phone.

Voice:  “Rosy.  Rosy.  Rosy. I know you’re listening. <Rosy picks up receiver>  I saw you, you know.  You hid your money and jewels.  How stupid.  You haven’t changed.  You don’t get it, do you?  I’m not interested in money.  I want you.  I want your splendid body.  And I’ll have you.  I will!  Not to caress you.  But to wring your neck.  To choke you until you suffocate.  And I’ll do it, Rosy.  You’ll see!”

Rosy:  “Who is this?  Who are you?  Answer me!  I beg of you.  Why do you hate me?  What have I done to you?  What have I done to you?  Don’t drive me mad like this!  Answer me please!”  The other party hangs up, Rosy breaks down crying.  Above her a screen shutter opens up to reveal someone apparently with glasses/sunglasses looking in.  Hearing footsteps, Rosy goes to the door and tries to listen.

On the other side an elderly gentleman with an overcoat, fedora, and glasses walks down the steps and corridor.  At the end of the corridor he looks back and whistles for his dog, Dee to come.  He leaves the door open when he takes her out.  *This is in the AIP version and Rosy bumps into him when he returns from the walk.  I’m assuming that Rosy would not have her ear to the door the whole time he’s walking Dee.*

Inside, Rosy notices a white envelope on the stairs. Catching her breath, she picks it up and opens it.  Inside is a newspaper clipping that an ex, Frank Ranier, has escaped from prison.  The phone rings again.  Now apparently with a good idea of who the caller is, she goes over to pick up the receiver.  “Hello?”

Voice:  “Rosy.  You’re beginning to understand, huh?  You weren’t expecting it, were you?  But I escaped just to find you. And finally, I’m close to you.  Very close.  And you can’t do anything about it.  Calling the police is useless.  Because I’m closer than the police. Don’t you forget it.  Much closer.”  

Rosy:  “Frank, listen.  Listen to me, Frank!”  

Frank hangs up.   Rosy calls her friend, Mary, who is sitting at a desk with the phone right there.  

Mary:  “Hello.”

Rosy:  “Mary, it’s Rosy.”

Mary:  “Hi, honey!  I really didn’t expect your call.  You said you didn’t want to see me or speak to me anymore.”  

Rosy:  “Please.  Now’s not the time.  Frank has escaped!”

Mary:  “Yes, I read about it.  So why are you telling me?  Now you two will get back together.”

Rosy:  “Mary, cut it out! I’m scared.  He wants revenge.  I’m sure of it.  Come over right away, please!”

Mary:  “You want me to come to you?  Did I hear correctly?” 

Rosy:  “Yes, yes.  As fast as you can.  He wants to kill me!”

Mary:  “All right, honey!  I don’t bear grudges.  Give me five minutes.”

Rosy:  “Thank you.   Hurry!”

*From this point it’s obvious Mary and Rosy have a past lesbian relationship, which was omitted in the AIP version.  Unknown to Rosy, Mary is hiding a secret.*  The phone rings.

Voice:  “Rosy.  Why did you call your friend, Mary?  Are you hoping she can help you?  Did you think I wouldn’t hear?”  <At this point the camera cuts to another room where we see the caller is...MARY!  She has a cloth over her mouth and is disguising her voice.> “You spoke in a whisper, but it’s no use.  Because I’m close, I told you.  Very close.  Call whomever you want, Rosy.   It’s all of no use.  Even if you had an army around you. By dawn, you will be dead.  Did you hear me, Rosy?  By dawn--you will be dead!”

Rosy runs frantically throughout her apartment to turn the lights back on, then hears a pounding on the door.  It’s Mary.  “Rosy.  It’s me.  Let me in.”

Rosy runs to the door and opens it.  Mary:  “Ciao!  In trouble?”

Rosy:  "How did you get in?”

Mary:  “The door was open.” as she enters the apartment. <She’s wearing a bright green outfit, and a Youtuber has commented on the use of green in Vertigo to represent deception. I’m assuming the door was open because of the man who took his dog for a walk earlier.>  Rosy follows her in.  Mary continues:  “Look at all this light!  What are you, the mistress of the guy who reads the meter? <laughs> Sorry, I was forgetting that you have a fine palate.  It must be the CEO of the company.<continues looking around> I see you haven’t changed anything here.  Everything’s as it was when we were friends and I came over all the time.  Rosy pours a drink for herself and Mary and Mary sits on Rosy’s bed and continues.  “Just like old times.”<moves to the side and motions Rosy to sit next to her>  Come on, honey, tell Mary everything.”

Rosy:  “Please, I’m not in the mood for humor.  Believe me.”

Mary:  “All right, Rosy.  As you wish.  No jokes.”

Rosy:  “He’s been calling me since I came home.  He’s been saying terrible things with a cold, threatening voice.  He knows everything I do, sees my every move.  The first time he called, I was in my bathrobe and he knew it.  Then I put my house robe on and he knew that too.  He even knew right away when I called you.”  Mary rises as Rosy continues.  “It’s as if he were in the room, spying on me, ready to kill me.”   Mary moves closer to Rosy and touches her from behind.  Rosy gasps.

Mary:  “Don’t be silly.  He’s guessing.  He’s going on a hunch.”<Mary is stroking Rosy’s hair>

Rosy:  I thought so, too.  But how did he know I called you?  He called right after that.  

Mary: “He always knew about us.  But what he doesn’t know is that you swore never to see me again.”  

Rosy:  <puts her drink down and resumes pacing> “He told me I’ll die before dawn.”

Mary:  “He’s an exploiter, not a killer.  Trust me, he was just trying to frighten you.”

Rosy:  “Mary, I’m the one who turned him in and he knows it.  I’m scared.”

Mary:  “Come, come. I’m here now.  Tomorrow we’ll go to the police together.<takes phone off hook>  He can call all he wants now.  Come on, give me a nightgown.  In the meantime I’ll make you some tea.”

While Rosy looks for a nightgown, Mary looks through another cabinet and finds a large steak knife.  Rosy panics when she is looking through some lingerie and Mary appears holding the knife.

Rosy: “What are you doing with that knife??”

Mary takes the knife over to Rosy’s bed and puts the knife under a pillow.  “You never know.  Still afraid?”

Rosy:  “No, I’m better now.”

Mary:  “Come on, then. Go to bed.”<gets her gown>

Rosy changes into a nightgown herself while looking to her left.  Mary dissolves a powder in the boiling water she’s using to make tea.

Rosy walks in.  “What’s that?”

Mary:  “Poison.  Compliments of Frank.   It’s a tranquilizer, silly.  It will do you good.  Can’t you see how shaken up you are?” 

The two ladies go into the next room.  The change of lighting on a window denotes the passage of time, and Rosy’s subsequent, sprawled diagonal appearance on a disheveled bed implies a prior interlude, though if Rosy were out cold from the tranquilizer it could qualify as a date-rape. On a nearby desk Mary is writing a letter:

“Dear Rosy, 

I’m sorry I frightened you so. But it was the only way for me to get you to reconsider your decision that caused me such pain.  Reading about Frank’s escape gave me the idea.  The voice you heard was mine.  Don’t hate me for it.  Was seeing me again really that bad?”

Mary will very soon pay for her transgressions, because Frank really is gunning for Rosy.  He sneaks into her apartment while Mary is looking over her letter with her back to him, and believing her to be Rosy, sneaks up to her and strangles her with a stocking.  Rosy wakes up and sees this, petrified.   Frank realizes it’s Mary he killed and says “Damn you!  Always where you shouldn’t be!”  He then looks up, sees Rosy in bed, gets up and moves toward her.  Rosy feels underneath the pillow for the knife and grasps it, still hidden from Frank.  As he gets on the bed and starts to choke her, she stabs him and he reels back, collapses and dies, but it’s not over.  We hear Frank’s voice on the phone, deeper than in the earlier calls.  “Rosy...you can’t kill me!  I’ll always be here. Close to you.  I’ll be talking to you every night.  No matter where you are, I’ll be calling you--on the telephone!”

The last part is only in the AIP version, and it’s followed by a scream from Rosy.  I’ve envisioned an alternate ending, where instead of merely screaming, she runs out into the corridor (half-naked thanks to Mary's earlier subterfuge) and her run-in with the elderly gentleman mentioned earlier occurs here instead, and their conversation is somewhat different.  

Man:  “What is it?  What’s the matter?”

Rosy: “Good evening, Colonel.  Excuse me!”  

Man:  ”But you’re frightened.  You look upset!   What happened? You’re safe with me.  You can tell me about it.  Come on.”

Rosy looks at the Colonel, eyes wide with fear.<The End>

The above ending leaves open whether she accepts his help.  A second possible alternate ending would have the colonel call the police to have Rosy taken away because she’s apparently convinced Frank is still alive--only to have Dee bark at Frank’s ghost.

So I am trying to learn editing on mobile and the software I use is alight motion and this is the first ever edit I made on alight motion. But this is a recreation of another edit made by @panic4386 which i really liked so I tried to recreate it but it didn't turn out the way his original edit is so here is the link to my edit-https://youtube.com/shorts/Naa2iQsq-Js?si=1vJkabnF1Grjw9il

So could you guys give me any and I mean any kind of feedback and tell me my weak points and strong points judging from this edit. Also here is the link to the original edit for comparison-https://youtu.be/CiSWeJAwnkI?si=utmfgWe1K5aUJeYX.